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The Life of Emile Zola
 
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The Life of Emile Zola

Avec : Arthur Ayleswofth, Robert H. Barrat Réalisateur : William Dieterle, Irving Rapper
4.5étoiles sur 5  Voir tous les commentaires (4 évaluations de client)
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Still as potently relevant today as it was in 1937, The Life of Emile Zola is a marvelously entertaining slab of Hollywood social issue-mongering. The life of the French writer is broadly sketched in the early going, but the film settles into its groove with the Dreyfus affair: the scandalous railroading of a military captain for treason, which shook France to its foundation in the 1890s. The elderly Zola's gradual involvement in the case, climaxing with his electrifying "J'accuse!" essay and subsequent trial for libel, is the heart and soul of the picture.

Warner Bros.' version of this story, directed by William Dieterle, carries over the passion (and hokum) of the previous year's Story of Louis Pasteur. It also retains that film's leading man, Paul Muni, who turns in an elaborately theatrical performance. The result was a box-office smash and three Oscars, for best picture, script, and supporting actor (Joseph Schildkraut, who plays Dreyfus). While the film occasionally creaks with Hollywood artifice, the clarion call of truth and outrage come through surprisingly strongly--indeed the film looks prescient as a warning about governments closing ranks to cover up mistakes. Mostly sidestepped is the anti-Semitic vitriol of the campaign against Dreyfus (his Jewishness is referenced only in a written report glimpsed for a moment). This is an old-fashioned barnburner that encourages the viewer to fan the flames. --Robert Horton



Review

The first quarter of The Life of Emile Zola is a paint-by-numbers movie biography of the famed writer, condensing his early years into a few scenes while simultaneously providing little insight into Emile Zola the individual or explaining why we should care about him in the first place. It is only later that it becomes clear why these awkward early scenes were included; they may not have been presented in the most original fashion, but they provided necessary information to understand Zola's evolution. Once the film arrives at its true purpose, Zola's role in the historic Alfred Dreyfus affair, the film comes alive dramatically if not cinematically. The story of the Dreyfus affair is inherently compelling, and this is a solid (if not entirely factual) dramatization. From the beginning, the story leaves no doubt as to Dreyfus' innocence, and does not shy away from depicting the ruling officers as more concerned with preserving their power than with serving in the interest of France. The filmmakers do, however, shy away from pointing the finger at anti-Semitism, and that is the film's biggest failing. Only once does the film make any connection to anti-Semitism as the reason behind Dreyfus' persecution. Still, if the film is not an indictment of anti-Semitism, it is an indictment of mob mentality, as the easily manipulated nature of public opinion is ridiculed time and again. Paul Muni, acting under heavy makeup, is good as Zola, even if one never loses sight of the fact that one is watching a performance, and Joseph Schildkraut won an Oscar for playing Dreyfus. But the film is stolen by the group of actors playing the ruling officers, namely Robert H. Barrat, Louis Calhern, Robert Warwick, and especially Harry Davenport, who is cast completely against type as a scheming Chief of Staff. ~ Bob Mastrangelo, All Movie Guide
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4.5étoiles sur 5 (4 évaluations de client)
 
 
 
 
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5.0étoiles sur 5 "He was a moment in the conscious of man" - Eulogy, Juil 13 2004
Par Tom Plum "TC" (Roswell, NM United States) - Voir tous mes commentaires
This review is from: Life of Emile Zola (VHS Tape)
There are 3 great speeches in this movie including the ending eulogy by Cezanne and the rest of the film moves along admirably, the mood is even a bit in the same way, as "Les Miserables", aficionados of that book-stage play, music and/or film, will find a great and similar message in this movie as well.

Yes, this was made in about 1936; expect that and not something from the '80s, '50s or the present. An outstanding movie, somehow, as one who has read a number of Zola books, I think he would be pleased.

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5.0étoiles sur 5 The Life of Emile Zola: Stuffy but Stately, Aoû 30 2002
Par Martin Asiner (jersey city, nj United States) - Voir tous mes commentaires
(REAL NAME)   
This review is from: Life of Emile Zola (VHS Tape)
In 1936, Paul Muni was on a roll. He had just won an Oscar for best actor in THE STORY OF LOUIS PASTEUR, so it was no surprise that a year later, director William Dieterle chose him for the lead in THE LIFE OF EMILE ZOLA. Zola, as Muni plays him, is a man who brings to mind a stuffy but morally centered grandfather type who sees his mission in life as the only man who is willing to stand up for what is right and root out corruption and evil when all others turn away claiming one valid excuse after another.
TLEZ is your standard but exceptional Hollywood bio-movie then so popular. Typically, such films begin 'en medias res', thrusting the hero into a series of lesser adventures that prefigure his later, more heroic ones. Zola and Paul Cezanne (Vladimir Sokoloff) are two poverty-stricken friends sharing a dumpy apartment in Paris. Each dreams of using his talent, Cezanne with art, Zola with words, to shake a complacent world with the immediacy of their need to force others to re-evaluate some given bedrock assumptions. Zola is a mudracker, but he cannot find it in himself to lead the fight alone. At critical points in the movie, others step in and out of his life to fire his conscience. Zola and Cezanne meet a streetwalker, Nana, who pours out a tale of economically blighted woe, the result of which is to fire Zola's imagination to write a novel exposing the corruption of a society that allowed such otherwise decent women to go astray. The first half of the movie sets up the character of Zola as one who, when convinced of the rightness of his cause, would boldly put in print inflammatory words that more than once would place him in peril. The second half focuses on the relation that Zola had with Alfred Dreyfus, a French Jew who was a captain in the French army. Zola and Dreyfus never met, but their interaction set the stage for some political fireworks that rocked the very core of the French government. Dreyfus was wrongfully accused of spying for the Germans, and a kangaroo court-martial found him guilty of treason and sent him to Devil's Island as punishment. In historical truth, Dreyfus's Jewishness was a significant factor in arousing France's widespread anti-Semitism against him. Director Dieterle sidesteps this controversy by using the word 'Jew' only once, and then briefly in a personal file on Dreyfus. At first, Zola does not care very much for Dreyfus' protestations of innocence. However, when the wife of Dreyfus makes a personal appeal to him for help, he agrees and the movie then turns into a battle between Zola and a corrupt, entrenched French High Command who are collectively willing to see Dreyfus rot on Devil's Island to save their own skins. Zola's 'I Accuse' harangue rings with the sincerity of a man who is willing to take on the Powers That Be to save a country's honor when those very corrupt Powers argue that their own sense of honor requires the opposite. Louis Calhern leads a fine supporting cast as one of the lying officers who see honor only in lying to the French public about their own shortcomings. Joseph Schildkraut as the accused Dreyfus brings considerable dignity to the role of a man who is forced to endure a public and humiliating ritual of dishonoring. By the film's end, the audience can see that virtue and honesty are not enough to ensure the ongoing vitality of a country's nobility. For that, the occasional pecking gadfly is needed. Zola was such a gadfly. THE LIFE OF EMILE ZOLA serves to remind us that such gadflies are often in short supply, especially when they are most needed.
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4.0étoiles sur 5 Two Great Speeches by Muni, But Skip The Rest, Jui 4 2002
Par Curtis Crawford (Charlottesville, VA United States) - Voir tous mes commentaires
(REAL NAME)   
This review is from: Life of Emile Zola (VHS Tape)
As a child in the 1930s I thought Paul Muni one of Hollywood's best, but I can't recall the movies on which this judgment was based. I don't know whether I saw this film then or not.

Now I find the depiction of "great writer (Zola) and great painter (Cezanne) in Paris during the 1800s" to be a grade school or Sunday school version of life. Hollywood's description of the Dreyfus affair lacks complexity, sophistication, reality, accuracy. The true story abounds in dramatic interest, excitement, conflict and power quite beyond the movie's reach.

But we do have two marvelous speeches, one when Muni as Emile Zola is reading his pamphlet, "I Accuse," to his friends and allies. And the other, when he is defending himself on a charge of slander in a hostile court. These alone are worth more than the price of admission. Spend your time hearing them again and again and then get yourself a copy of Zola's pamphlet and a good book from Amazon.com on what the Dreyfus affair was all about.

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4.0étoiles sur 5 1937 PRESTIGE PICTURE
An unknown young Parisian writer suddenly becomes famous for penning the sensational NANA. Paul Muni, the great Polish actor who specialized in playing great men of history... Read more
Publié le Juil 31 2001 par scotsladdie

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